GLEE "Transitioning" Towards Finale

Article first published as TV Review: 'Glee' - 'Transitioning' on Blogcritics.

FOX’s Glee begins “Transitioning” to the endgame  as it reaches the halfway point of its final season this week. Coach Bieste (Dot-Marie Jones) returns to McKinley as a man, where he is protected by Principal Sylvester (Jane Lynch) and his players. But Will’s (Matthew Morrison) new glee club doesn’t share the same spirit of tolerance and compassion, going after Bieste to psych out the New Directions. This, while Rachel (Lea Michelle) is mourning the loss of her childhood home and Blaine (Darren Criss) is wondering if his future should bring him back to Kurt (Chris Colfer).

I stated in a recent review that it makes no sense, given the past history of the character, that Bieste would have gender reassignment surgery. That still holds true. However, the emotional execution of the story in “Transitioning” and the powerful performance by Jones almost make one forget that, feeling the character’s pain, and seeing Glee highlight yet another group of people are misunderstood and deserve acceptance.

When Glee starts down this route with Bieste, my immediate thought is, “Why isn’t Unique (Alex Newell) the one going through this?” It’s never stated on the show, but my guess is that a high schooler getting the surgery likely crosses some ethical lines and Unique isn’t yet a candidate for such a transition. Thankfully, Unique does return this week to offer emotional support, her first appearance this season, and organizes a three-hundred member transgender choir to make Bieste feel like he belongs. It’s touching, and despite a weird locker room scene between Bieste and Unique, by and large works.

An ongoing story this season is Will’s uneasy adjustment to Vocal Adrenaline. The group is led by Clint (singer Max George), a jerk of a student who doesn’t like or respect his coach. Will gets fed up and decides to quit when trying to reach the kids doesn’t work. It’s a tough decision that he makes with his supportive wife, Emma (Jayma Mays, finally back!), realizing he will never fit in to the culture of the school that pays him so well. But it’s satisfying when Will agrees to return to McKinley as an unpaid mentor who will surely get back his old, beloved job when Rachel inevitably returns to New York at year’s end.

Glee‘s handling of Vocal Adrenaline has been uneven, much like the rest of the show. They are introduced as villains originally, but evolve into something much better over time. While they do eventually run Unique off, there is a period where Unique is their lead. It’s regrettable to see this backslide, and it sucks that a teacher as dedicated as Will would give up on the kids. But without administrative support or the control needed to make real changes, it’s understandable that Will leaves and this group is firmly a two-dimensional bad guy at the end.

Rachel’s “Transitioning” involves giving up her childhood home, which affects her because it’s where she retreats after her early career failures. It’s a safe refuge, so while it may be a bit immature of Rachel to cling to it, I can also see why she does. Letting go of the place is part of the show’s final theme, moving on to the next stage of life. Sam (Chord Overstreet), Mercedes (Amber Riley), Kurt, Blaine, and the kids help Rachel get through this in a journey the audience is invested in as well.

It is weird that the alumni party with the students, though since none are actual faculty, merely outsiders serving as mentors, and Glee has always promoted student-teacher friendships, it kind of works. I’m glad the bar is closed in Rachel’s basement, despite how the New Directions used to drink down, there because that would have been highly inappropriate for Rachel to give kids booze. It’s also weird that Rachel and Sam are becoming a couple and that Kitty (Becca Tobin) is grouped with the alumni in helping Rachel. However, these inconsistencies, the worst parts of this hour, are overshadowed by all of the moving stories unfolding, so it doesn’t ruin “Transitioning.”

The one thing that really bothers me is that Rachel almost does an Ohio singers-themed lesson, which is abandoned. Despite being set in the Buckeye state, Glee gets almost nothing about Ohio right, and it would have been gratifying if the writers finally did some research and paid tribute to the setting. Sadly, this will not happen, though I did somewhat enjoy Glee poking fun at some of its own weaknesses around this part of the episode, a tongue in cheek acknowledgment it hasn’t done Ohio justice.

In the final subplot, Blaine kisses Kurt. But after Blaine and Karofsky (Max Adler) break up in a terrifically done scene, Blaine finds out Kurt is still dating Walter (Harry Hamlin), and so unavailable.

This is only temporary, of course; Kurt and Blaine will end up together. Once Cory Monteith, and, by extension, his character, Finn, passes away, Kurt and Blaine replace Rachel and Finn as the show’s favorite twosome. Santana and Brittany are awesome and I’ll always love them, but Klaine is who most viewers are particularly invested in. Walter is merely the last obstacle to be overcome, and hopefully he will be at least half as understanding as Karofsky of the situation.

By and large, the music in “Transitioning” is good, too. Blaine and Kurt’s “Somebody Loves You” isn’t their best work, but it’s serviceable. Mercedes and Roderick (Noah Guthrie) are a perfect pairing in “All About That Bass.” Sam and Rachel make me forget how weird their coupling is when they sing “Time After Time.” Vocal Adrenaline, assholes that they are, rock “You Give Love a Bad Name.” And, of course, Will and Unique’s “Same Love” and the trangender choir’s “I Know Where I’ve Been” are incredibly sweet, powerful stuff.

There have been many times in the past few year’s where I have regretted taking on Glee as a weekly column (you can find a review of every single episode of Glee ever by clicking the “Gleekonomics” link at the top of this page). That regret is melting away as Glee begins to nail its final season. The story isn’t air-tight, nor has it ever been, but the ensemble usually excels at emotional stuff, and there is plenty of that in “Transitioning” and season six. A couple of missteps early in the year worry me, but if the last six installments are anything like this one, Glee will end strong.

Glee airs Fridays at 9 p.m. ET on FOX.

"Homecoming" For GLEE

Article first published as TV Review: 'Glee' - 'Loser Like Me' and 'Homecoming' on Blogcritics.

FOX’s Glee began its final season with two episodes this past Friday. In the first, “Loser Like Me,” Rachel (Lea Michele) sees her Hollywood dreams crash and burn. Returning to Lima, Ohio, she realizes the program that inspired her is no more as well, so she petitions the superintendent to revive the arts at McKinley. He agrees – if she will run the show choir. The story continues in the second hour, “Homecoming,” in which many of Rachel’s fellow alumni return to help her recruit.

I’ve been pretty critical of Glee in recent seasons as the quality of the show, never consistent, noticeably declined. The bright spot was whenever the series moved to New York, with the Ohio plots being much lamer. Unfortunately, this sixth (and final) season pretty much eliminates New York altogether, as there is no one left in the Big Apple to follow.

That being said, something Glee usually nails is emotional heft, and season six is already showing greater willingness to use this hammer. The story may not be entirely believable (Sue’s antics so ridiculously misrepresent what would be allowed in education that I want to scream) nor make total sense (why did Chord Overstreet’s Sam decide to move home and become the assistant football coach?), but “Loser Like Me” succeeds in making me feel something for the characters again. Many of them, especially Rachel and Kurt (Chris Colfer), are at a crossroads in their lives. Things haven’t exactly turned out as they’d hoped, something many young adults face, and they may need to readjust career goals and priorities.

Adding to that is this desperate crusade in the final war against Sue Sylvester (Jane Lynch) to save arts education. The New Directions did something very special for all of the core characters, and Rachel, Kurt, et al. want to make sure that tradition continues. This is an idea many fans of the show can get behind, and it makes it all the more special when old friends, including Puck (Mark Salling), Mercedes (Amber Riley), Artie (Kevin McHale), Quinn (Dianna Agron), Brittany (Heather Morris), Santana (Naya Rivera), and Tina (Jenna Ushkowitz), come together to help one another.

A quick note on casting. I’m glad to see Riley back to full-time status, and the promotion of Dot-Marie Jones’ Coach Beiste makes sense, as well as being very satisfying. But why is McHale sticking around, given that he should be the only one left in NYC? And it’s with great regret to note that Rivera has been downgraded to guest star, though she’s expected to appear in several episodes.

The final season will not only see people come together in opposition to Sue, but it will also test the bounds of new relationships. Kurt and Rachel are heading up the New Directions, and two of their loves ones are now coaching their own glee clubs, Will (Matthew Morrison) having been hired for Vocal Adrenaline and Blaine (Darren Criss) returning to his Warblers. This will provide needed drama, which already begins in “Homecoming” when one of Blaine’s students switches to McKinley. But Kurt and Blaine are destined to repair their relationship and Will clearly isn’t happy with his less chummy group, so those are all just obstacles to overcome, rather than signaling an unhappy ending.

Speaking of Kurt and Blaine, their breakup, shown in flashback in “Loser Like Me,” is incredibly sad. I get why it happens, and I think it’s one of the better fleshed out developments in Glee recently, but it’s still incredibly hard to see this “perfect” couple fall apart. I enjoy Karofsky (Max Adler) getting into the triangle, but I have faith the series will bring Klaine back together in the end, which is how it should be.

The evolution of homosexuality in Glee‘s six short years on the air has been astounding. In the beginning, Kurt is bullied for being gay, and Karofsky certainly can’t bring himself to admit who he has feelings for. In “Loser Like Me,” we are introduced to Spencer Porter (Marshall Williams, How to Build a Better Boy), who is “post-gay,” meaning he doesn’t fit into any of the stereotypes gay boys usually fit into, and hardly anyone has a problem with his sexuality. I don’t think the world has changed quite that dramatically in six years, but it certainly has moved majorly in that direction, thanks in large part to shows like Glee and Modern Family, which gets a name drop this week. I hope those involved in Glee are proud of their societal contribution in this arena, and it’s awesome that the show is able to realistically include a character like Spencer before they go off the air.

Joining Spencer (who is not yet in glee club, but certainly will be) in the fresh batch of newbies are: chubby transfer student Roderick (Noah Guthrie, Dancing With the Stars); discrimination-busting Jane (Samantha Marie Ware); and Flowers in the Attic-esque siblings Mason (Billy Lewis Jr.) and Madison (Laura Dreyfuss). Virtually all these performers are unknown, not a rarity for Glee, but they seem like an interesting group, and even if the latter are only comic relief, they should make for some worthy, albeit brief, narratives in the final season. Plus, they can all sing quite well.

I am a bit sad “Loser Like Me” and “Homecoming” introduce a brand new batch of kids without including any of the most recent students like Marley and Unique. I mean, had Sue not transferred them to other schools, they probably would have kept fighting her, and thus Rachel would not have a clean slate. But I like those guys a lot, despite the horrible stories they are often given, and I’m sad they don’t appear to be returning. Kitty (Becca Tobin) is still around, but it doesn’t look like she’s re-joining the choir. It’s not like they’re the first people Glee regrettably diss-ed though; I still miss Zizes.

While I mainly want to talk story this week, I would be remiss if I didn’t touch on the music in “Loser Like Me” and “Homecoming.” “Suddenly Seymour” is a favorite song of mine, and Glee presents it beautifully. I’m not as big a fan of “Let It Go,” but it’s hard to complain about Ms. Berry’s fantastic rendition of it, and I love the mother/daughter angle because the woman that made the tune famous, Idina Menzel, plays Rachel’s mother on the show. “Take On Me” is telegraphed well before it shows up, but that doesn’t negate it’s effect when it finally does. “Uninvited” is nice, “Viva Voce” is cool, and “Tightrope” is spectacular. “Home” works well for the ending of the two-hour episode.

I was less thrilled with “Mustang Sally,” “Problem,”Dance the Night Away,” and “Sing,” but that speaks as much to the song choices as the performances of them. Though Glee has turned me around on icky songs before by finding a new angle, so the fact that these fail to wow is too bad.

Overall, I am reasonably satisfied with Glee‘s return. These aren’t the best two hours of the series, but they are mostly enjoyable, and they appropriately add serious emotion in the beginning-of-the-end plots introduced. It seems like the show is setting up the ending these characters deserve, and since creator Ryan Murphy has a tendency to nail the dramatic stuff, I’m cautiously optimistic about where the show is going.

Glee now airs Fridays at 9 p.m. ET on FOX.

Rachel's Big "Opening Night" of GLEE

Article first published as TV Review: 'Glee' - 'Opening Night' on Blogcritics.

This week’s installment of Glee, “Opening Night,” has a couple of nice stories mashed together in a very unnatural way. Add to that a big list of what is missing from the hour that should have been included, and it feels uneven. Had this been split into two separate episodes, allowing room to add in some of the glaring omissions, it might have been really good. Instead, it’s a fair installment with some terrific moments.

The ‘A’ plot revolves around Rachel’s (Lea Michele) Broadway opening night in Funny Girl. Her friends rally around her, including Tina (Jenna Ushkowitz), who has come to visit, but not Artie (Kevin McHale), who is out of town, so we trade one annoying character for another. Still, Rachel has severe nerves and has a hard time finding the will to get up on stage. It takes a former frenemy verbally slapping some sense into her before Rachel can perform. Once she does, as expected, she is amazing.

Rachel’s nervousness is understandable, and is well developed. It gives us the fun opening “Lovefool” with welcome appearances by former recurring players Karofsky (Max Adler), Jacob Ben Israel (John Sussman), and Becky Jackson (Lauren Potter). Those three are tormentors of Rachel’s previously, to varying degrees, so it makes sense to see them now. From here, we get to Rachel curled up in bed, unable to rise, doubting herself after reading online reviews of the preview shows. What nineteen- or twenty-year old wouldn’t be nearly paralyzed with fear in this situation?

It’s Santana (Naya Rivera) that manages to make Rachel see the light when her friends, including Kurt (Chris Colfer), Blaine (Darren Criss), Mercedes (Amber Riley), and Sam (Chord Overstreet) cannot. This works for the story, too. Not only does it solidify that Rachel and Santana are over their feud and really can be true pals, but Rachel needs a kick in the pants, not coddling, and only Santana can do that. Tina gives hard truths, too, but only unintentionally, not having the brass to back them up that Santana does, or wisdom to see what’s needed.

When Rachel takes the stage, she’s terrific. An audience kerfuffle tarnishes the first act a little bit, but Rachel’s chums remain supportive and the producer, Sidney (Michael Lerner), tells Rachel like it is, so Rachel rallies. Her opening, “I’m the Greatest Star,” is good, but her closing, “Who Are You Now?,” is even better. Rachel’s skipping of the cast party to hang out with her friends in a rowdy gay club, complete with a spirited “Pumpin’ Blood,” is a little rude, but she needs to let off steam her way. And the rave reviews in the papers the next morning are well-earned, the culmination of five years of story arcs for the female lead of the series.

The worst part of this storyline, though, is that Will (Matthew Morrison), who has come to New York specifically for the show, has to run home before it begins because Emma (Jayma Mays) is in labor. It’s not like Mays even appears in the episode, nor do Will or Rachel struggle with his absence, so what is the point of this? It seems gimmicky, like a bad sitcom, and the episode would have changed not at all had Will stayed, uninterrupted.

Or maybe the worst part is that Rachel’s dads, introduced as two men that would be mega-fans of their daughter, don’t show up, as they never do, their characters having been consistently wasted all throughout Glee. Nor do many of Rachel’s friends come, despite that fact that this person they know and like is starring in a Broadway show! Maybe Glee didn’t want another big reunion episode so soon after the ending of the McKinley plot, but “Opening Night” pretty much screams for one, and fails to get it.

Of course, Glee sticks a couple of touching Finn references in, as it is beginning to do way too often. Rachel thinks of Finn while singing, and Will gives her child the middle name of Finn. These are sweet, to be sure, and definitely fit for the moment. But do we have to be reminded of Finn week after week? Many shows don’t mention a character enough after their passing; Glee is almost doing it too much.

Sandwiched into “Opening Night” is a ‘B’ story in which Sue (Jane Lynch), criticized for lambasting New York City in her news segment because she’s never been there, tags along with Will. Unable to sit through Funny Girl, Sue climbs over the New York Times critic early in the show, then meets up with a man named Mario (Chris Parnell, Suburgatory, Archer), who walks out in a similar manner. The two fall in love over dinner, then have sex all over Rachel’s apartment (because they didn’t know Will had left an empty hotel room?). In the end, though, Sue won’t stay in the city and Mario won’t move to Ohio, so their affair ends, but leaves Sue with an appreciation for the Big Apple.

Sue deserves a romance, and I like her how and Mario connect, Mario even sticking by her after Rachel (justifiably) loudly and harshly tells Sue off. So why bring this up if it’s not going to be an ongoing arc? And why stuff it into Rachel’s episode? Sue’s “N.Y.C.” number with Will is great, but the fact that Sue shares Rachel’s big closer, “Who Are You Now?,” is jarring and weird. It’s nice to see Sue get story, and good story at that,  but it’s just sandwiched so unevenly into “Opening Night” that it doesn’t land as it should.

I’m also a little torn over the Rachel / Sue showdown in this episode. Sue is known to be supportive of her students, using her cruelty as a motivator, not because she’s truly mean. So why can’t Sue be happy for Rachel when Rachel has succeeded? Is Sue resentful that it has come about so easily for the girl? If so, explore that, don’t leave us wondering. Rachel laying into Sue feels good because, in the moment, Sue seems to deserve it, and yet, because we see Sue emotionally bare this week, it also feels a little rougher than it should be, creating unnecessarily mixed feelings.

Once more, “Opening Night” is superior to the NYC/McKinley split episodes, but does not completely fulfill its potential. It will be interesting to see how Glee ties up the New York arc in the next three weeks, and if its final season, which will feature a new format and setting(s?), finally figures out what the show should be. Glee airs Tuesdays at 8 p.m. ET on FOX.

"On My Way" to Glee

FOX's Glee ends its winter run in a big way with "On My Way." Karofsky (Max Adler) attempts suicide, rocking both the New Directions and the Warblers. This puts their petty feuding into perspective, leading to a unified front at Regionals in supporting a charity to help others like Karofsky. It also is another contributing factor in Rachel (Lea Michele) and Finn's (Cory Monteith) march to the altar. The pair pushes up the ceremony to just after Regionals, as their parents scramble to prevent it. And on the way to the wedding, Quinn (Dianna Agron) is involved in a horrific car wreck while texting and driving. 

Glee will never be blamed for not doing enough to promote a stop to the bullying of teens, especially gay ones. Karofsky's arc in "On My Way" almost comes to a tragic end, as he feels shamed enough to try to take his own life. It's with great relief that his father (Daniel Roebuck) catches him in time, and saves the lad. The scene is emotional, powerful, and one that no viewer will soon forget, especially with Blaine's (Darren Criss) haunting "Cough Syrup" laid over it. It is an excellent moment for Glee.

It's also a transformational moment for Max Adler. Originally introduced as a stereotypical bully, the character of Karofsky has really grown into a fan favorite, and deservedly so. His arc, which climaxes in "On May Way," not only affects every character on the series, as well as every viewer at home, but surely deserves at least an Emmy nomination for Best Guest Actor. This young man plays Karofsky in such a way that will tug at every heart string. It's no wonder that the characters rally around him, offering their support in their own ways, even after what he has done to them.

Also stand out is the scene where Kurt (Chris Colfer) visits Karofsky in the hospital. Kurt and Karofsky are not meant to be together, but their growing friendship is certainly a Glee highlight. Given the circumstances leading up to the suicide attempt, Kurt should not blame himself for not answering Karofsky's calls. He comes to see him, and that's what Karofsky needs.

The biggest impact comes when Kurt helps Karofsky imagine what might happen in a few years, and how his life could change for the better. One can easily picture hundreds of gay teens glued to their television sets, picturing their own futures, identifying with both guys, and wishing for their own happy ending. Glee delivers the ultimate "It Gets Better" video in this sequence. And it really does get better, and will only get more so as society adjusts away from this latest form of bigotry. If "On My Way" prevents a few real suicides by offering that hope, the series has more than proven its worth.

What is really surprising is how Sebastian (Grant Gustin) changes. He has taken over the villain role on Glee, but that comes to a abrupt halt this week. Sebastian previously insults Karofsky in a bar, and that comes back to jar him in "On My Way." He deals with his own guilty feelings. Will the change be permanent? Probably not, and who would want it to? Television needs bad guys to stay interesting. But it's great to see that Sebastian has some depth to him, and is not wholly two-dimensional.

"On My Way" contains a great moment for the staff, as Principal Figgins (Iqbal Theba) gathers Sue (Jane Lynch), Will (Matthew Morrison), Emma (Jayma Mays), and Bieste (Dot Marie Jones) in his office to discuss how to handle the Karofsky's situation. Each teacher feels somewhat responsible for not seeing it coming, and also compassion for their students. Their reactions are professional, but also show the deep personal connection educators feel to the children that they work with. In fact, it's among the finest behavior shown by their characters. If they were like this every day, they would be ideal teachers, instead of the caricatures they sometimes are reduced to.

Will is not at his finest in "On My Way." He sits the New Directions down to talk to them about suicide. Not only does he not tell his students that they can always call on him, which is what he should be doing, but he also tells a lame story about considering the final act of desperation himself after getting caught cheating on a test. Not even a test that will get him into college or anything, just a standard test for a class. It does not come across as sincere, and doesn't live up to the moment that it should be.

Facing change in "On My Way" is Sue. She is pregnant, somehow, and the father has still not been revealed. This softens her up considerably, allowing logic to easily be forgotten in favor of an engrossing story, and some character development. In the end, she even offers to help the New Directions win at Nationals, and claims there is no catch to her motives. Could she really be sincere? If Sue brings to bear her formidable coaching talents, which have won many a Cheerios national title, and doesn't try to sabotage them in some way, the group should be unstoppable. What an exciting prospect! And also a fitting, satisfying, happy ending to the three year arc of many of the characters. This would truly be a full circle moment for Sue, and one cannot help but wish that this spirit is genuine.

Quinn returns to focus in "On My Way." Looking forward to soon head off to Yale, she tries to leave things good between herself and her classmates. She does this by offering sympathy concerning Karofsky, and being less judgmental about Rachel's wedding. The scene where she asks Rachel if she is still welcome at Rachel's wedding is sweet, and reminds viewers of what these two characters have built over the years. It's not exactly friendship, but there is a special bond between them. Sue allowing her back on the Cheerios is just icing on the cake. Things put in order, Quinn can happily move on.

And then the car wreck happens. Setting aside the anti-texting-while-driving message that Glee is touting, which is probably an important one for teens, though not particularly appealing, how will this change the course of Quinn's life? The challenges she's had to overcome deal with body image and pregnancy. Is Glee really going to ask for more of her when her victory is so near? It seems a little off that Quinn gets into Yale, but now that fans have accepted that twist, would Glee dare to take that accomplishment, a reward for all the work she has done on herself, away? And certainly any chance of her cheerleading again is now gone.

Might Glee kill Quinn off? It seems unlikely, especially coming so soon after Karofsky's close call. It would also extend a depressing tone into at least one more consecutive episode, which doesn't seem like a move that Glee would make. However, the series should definitely consider it. Agron has had a nice run, and her death could really put things into perspective for many characters, even more so than Karofsky's. It would also give a Nationals victory, dedicated to Quinn, of course, even more umph. If the actress is going to depart the show soon anyway, why not leave in such a way that she will be fondly remembered for, and as a deeply powerful motivator?

Besides Quinn's wreck, the other cliffhanger in "On My Way" is whether or not Rachel and Finn will go through with their wedding. As the episode closes, it is time for them to take the plunge. They are at the courthouse, surrounded by family and friends and Sue. Both characters seem ready to go for it, with none of the hesitation or doubts that have plagued the past few episodes. In fact, Glee almost goes to lengths to get fans on board with the matrimony, something that hasn't really been attempted until this episode. So is the deal done? It seems certain, unless news of Quinn reaches them beforehand, which wouldn't be realistic.

The wild cards here are Burt (Mike O'Malley), Carole (Romy Rosemont), Leroy (Brian Stokes Mitchell), and Hiram (Jeff Goldblum). Setting aside that Burt has not been in Finn's life long enough to react so strongly, what plan might these four come up with? Carole is slowly getting on board with the marriage, and possibly Leroy, too, but Burt and Hiram are dead set against it. What will they do to try to stop the wedding? It would be very unlikely that they would come around this late in the game, and keep their mouths shut, barring something happening to change their mind. And there simply isn't time for that. But will whatever they do actually change Rachel and / or Finn's mind?

By the way, are we to assume that Hiram and Leroy have been at all of the New Directions' events, just unseen up til now? For their characters to be absent seems unlikely, and their attendance at Regionals really makes the hole left by them over the past two and a half years really felt. It is a big mistake to wait until now to bring them into the story, though it's too late to fix that. Thank goodness the course correction is happening now, but it feels a little too late.

As far as music goes, "On My Way" delivers pretty well, though most of the episode is lacking song. There is merely one performance outside of the Regionals contest, and that is Blaine's aforementioned number. While powerful in context, one gets the impression that it might not have stood so well on its own. Context does matter, though, so it gets a passing, but not spectacular, grade.

The Warblers are a bit of a let down while performing "Stand" and "Glad You Came" for their Regionals entry. The group is severely lacking strong leadership without Blaine this year. Sebastian is an interesting character, perhaps, but he pales in comparison on fronting the group. Neither song choice is particularly impressive or memorable, and it's a relief that the Warbler's third number is omitted.

The New Directions, of course, are much better. "Fly"/"I Believe I Can Fly" is a cool mash-up that features six different members of the glee club! The second song, "What Doesn't Kill You (Stronger)," is, as promised, for the Troubletones, with each of the three main New Directions girls in the group getting solo time. Though where did the others come from? They haven't been practicing with the New Directions. One would be forgiven for assuming that they had quit choir until they suddenly show up here.

As great as Rachel does in leading the finale, "Here's to Us," it's also really neat that the so many other members of the group get to shine, too, in the first two songs. It's taken three years, but the other characters have been fleshed out enough to finally take a bit of spotlight of their own, without leaving everything on the shoulders of one girl.

So "On My Way" will stand out as a high point of this season. Not musically, perhaps, but definitely in terms of story and character development, as well as societal impact. Great effort for a mid-season finale.


Glee is taking a break, but will return to FOX in April.

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "On My Way" on Blogcritics.

Glee considers matters of the "Heart"

FOX's Glee this week focuses on "Heart." Rachel's dads, Hiram (Jeff Goldblum, Jurassic Park, Law & Order: Criminal Intent) and Leroy (Tony Award winner Brian Stokes Mitchell) learn of Rachel (Lea Michele) and Finn's (Cory Monteith) plans to marry. They act very supportive, but secretly plot with Burt (Mike O'Malley) and Carole (Romy Rosemont) to derail the ceremony. Unfortunately for them, their machinations backfire, and the young couple decides they will tie the knot this coming May.

Rachel and Finn are too young to marry. They haven't known each other, or been together, long enough to take this step. They are both going into it for the wrong reasons, which have been expounded upon in depth in previous Glee episode reviews. So it's a little disheartening (hehe) that "Heart" chooses to overlook any of these elements, at least in the minds of the central couple, and instead, focuses on how they get along. Which is splendidly, for now. There is a little bit of a rocky start to a night spent together, but they come through it stronger than ever. Unfortunately.

When are parents going to learn that kids will do what they are going to do? Rachel and Finn are making a mistake, true, but it's far too late for their mom and dads to do anything about it. Hiram drops a few passive-aggressive comments, but other than that, both couples seem set on reverse psychology to undo the impending union. This fails, as all such plans do. How will Hiram, Leroy, Carole, and Burt cope with this, and what is their next move? Or will they just get on board, and do what Rachel and Finn want?

"Heart" introduces Hiram and Leroy to Glee viewers (apparently someone forgot that a picture of Rachel's dads was featured in the pilot, though with different actors). It's hard to think of two better men to play these pivotal roles than Goldblum and Stokes Mitchell. Both are fantastically flamboyant, in a way that fits the situation. As they croon "Chapel of Love" and "You're the Top," it's immediately obvious why Rachel is who she is. The two guys also have delightful chemistry, and it feels like a great home setting for Rachel's character.

Love is in the air at school, too. Artie (Kevin McHale) continues to hate being alone, and sets his sights on Sugar (Vanessa Lengies) as his next possible boo, thinking her Valentine's party is the perfect time to hook up. Unfortunately for Artie, Rory (Damian McGinty) has the same idea, and two end up competing over the girl, who doesn't really seem right for either one of them.

Rory wins Sugar, for now, but does so by lying about his upcoming deportation. Rory has had little to no plot all season, and so it's nice to finally get a little story for him, as well as a song when he uses "Home" to woo Sugar. But this plot seems to come out of nowhere, and his sneakiness doesn't exactly gel with the Rory first introduced all those months ago. While, perhaps, his character has changed from the time spent in Ohio, viewers not having been privy to such a change, or the reason for it, are left confused. This is a very weird plot.

The second Glee Project winner finally makes his debut in "Heart." Joe Hart (hehe again) is played by Samuel Larsen. Joe is an odd character, introduced as uber-religious, but also a bit of a live-and-let-live hippy. It's fun to hear him perform "Stereo Hearts" and a mash up of two songs, both titled "Cherish." Yet, it's totally bizarre when he decides not to judge Santana (Naya Rivera) and Brittany's (Heather Morris) relationship, given his character's introduction. Not only does Joe come out of nowhere, but his odd behavior makes him hard to pinpoint. Sadly, it's not in a complicated, deep manner, but rather, it feels like the writer's just aren't sure what to do with him.

Santana is hauled into Figgins's (Iqbal Theba) office for kissing Brittany in the hall. The broken rule isn't a PDA issue, which would be understandable, but rather, because the girls are lesbians. This kind of bigotry is completely intolerable, and thankfully Glee continues to highlight that. In 2012, homophobia is the new racism, and it's pretty darn ugly. Given what happened in New Jersey this week, this is incredibly relevant to the current news cycle.

Kurt (Chris Colfer) gets a surprise secret admirer in "Heart" when Karofsky (Max Adler) returns. Dressed as a gorilla at first, Karofsky makes a play for his former tormentee. Kurt is flattered, but gently lets him down. It's not surprising that Dave latches onto Kurt, given that Kurt is the only out gay teen Karosky knows while dealing with his internal conflict. It's only surprising that it's taken this long for Dave to act on those feelings. But Kurt is very happy with Blaine (Darren Criss), and Kurt and Karofsky just don't seem like a matching pair, anyway. However, hopefully Karosky will find a reason to return to Glee again soon, because his character arc has been neat, and any screen time for him is welcome.

The assignment Will (Matthew Morrison) gives his kids this week is to study the best love songs of all time. Yet, only two are featured in "Heart," which is pretty disappointing. Tina (Jenna Ushkowitz) and Mike Chang (Harry Shum Jr.) kick things off with "L-O-V-E," a great number, if not really being relevant to any of the episode's stories. Then it's not until Mercedes (Amber Riley) delivers a coincidentally timely (given Whitney Houston's recent passing) rendition of "I Will Always Love You" while pining over Sam (Chord Overstreet), that another example of this theme comes along. This is a truly powerful performance, and well appreciated. But that's it. Other songs, such as the guys' "Let Me Love You," are fun, but nothing deserves the "best" title other than those two numbers.

"Love Shack" is a strong ending for the episode, with Blaine returning in top form, to lead the group in a remarkably enjoyable version of the old pop hit. It surely shouldn't be on a "best love songs" list, but Glee turns it into something really fun with great choreography and tongue-in-cheek jokes. The best moment may be Finn's face as he cheesily pops up into frame near the end. The performance is an appropriate ending, even if it's mainly fluff.

Which is kind of what "Heart" is: fluff. The plots glosses over anything serious or real. The episode is amusing and entertaining. It's not bad, but there is so much missed opportunity here for it to be better.
With the impending end of many characters' runs on Glee, things will probably take a more dramatic turn soon. Maybe even next week, which is the winter finale, and features Regionals. Until then, this is a serviceable, if not overly impressive, entry.

Glee airs Tuesdays at 8 p.m. ET on FOX.

MORE GLEE: If you like my reviews, please follow me on Twitter! Click here for all of the Glee reviews I've ever written. To purchase Glee DVDs, streaming episodes, music, and more, please click here. Article first published as TV Review: Glee - "Heart" on Blogcritics.

Glee explores "The First Time"

     This week's episode of FOX's Glee finds Rachel (Lea Michele) and Blaine (Darren Criss) contemplating sex for "The First Time" in order to better their acting chops. Kurt (Chris Colfer) shoots Blaine down under less than romantic circumstances, and Finn (Cory Monteith) just doesn't want to be used. However, once Rachel and Blaine stop trying so hard and enjoy being in their respective relationships, sex does happen for each. Could Coach Beiste (Dot-Marie Jones) be next, now that Cooter Menkins (Eric Bruskotter, Six Feet Under, Starship Troopers) has set his sights on her?

     There is no Will (Matthew Morrison) plot in this episode, and yet, somehow he isn't really missed.

     Love is in the air on Glee, again. "The First Time" isn't the first time that the series focuses on the sex life of the central teenagers, and it probably won't be the last. Smartly, the characters reference other episodes that relate to this plot, such as Rachel bringing up the Madonna week. Still, doesn't it seem strange that the two main couples both decide to do the dirty for the very first time on the same night? This could be chalked up to the life circumstances of Blaine and Rachel, with West Side Story being the catalyst, however, it just isn't all that likely. Also, why should teen sex be glamorized on TV? Perhaps this makes me sound like an old fogey, but just wait under you're older!

     That being said, the sexual encounters themselves are handled in a very classy way. No skin is shown, of course, and romance is the prime factor, rather than hormones. Plus, both couples' intercourse is interspersed with "One Hand, One Heart," proving a perfect mix of music and scene. Glee doesn't always get this right, but this sequence is pretty nifty.

     The reason Rachel and Blaine are so desperate for sex is because of something Artie (Kevin McHale) says to them. But Artie admits to himself in narration that he doesn't know what he is doing as a director. Is this just self-doubt, or is he really not sure? The production of West Side Story seems to come off without a hitch, so things point to the former. However, if Artie really doesn't know that he's making good decisions, it could be just dumb luck, or the influence of the adult mentors. Either way, Artie's entire plot is a yawn, and drags the episode down. He's just not an interesting character, and his limited acting abilities make this fall flat.

     A much better side character is Mike Chang (Harry Shum Jr.). Picking up from an earlier episode,
apparently Mike and his mom (Tamlyn Tomita) have never told his father (Keong Sim) that Mike will continue to dance. Mike Sr. shows up and is furious that his son is still working on his passion. The Mike Changs end up disowning each other in an emotionally charged scene. It is pretty cool thought that mom still shows up to see young Mike in West Side Story. Why not give this story more attention? It deserves it!

     Somehow, Coach Beiste remains a virgin, too. She says she has never met the right guy. Hearts go out to this teary-eyed woman who is so damaged by rejection and poor self-image that she thinks Cooter asking her out is a joke. Beiste is a fantastic character, and any guy would be lucky to have her. One can't help but hope that Cooter is the man of her dreams, as he appears to be. After all, he recognizes what she has to offer, and is smart enough to pursue it. Not only that, but he says the right things to make her feel good about herself. Home run!

     Less of a home run this week is Glee bringing in someone to stir things up between Blaine and Kurt. Sebastian (Grant Gustin) goes after Blaine quite aggressively, and is even willing to sleep with Blaine and not tell Kurt. He is a slimy character right from the get go. While it is kind of interesting to see Kurt get jealous and fight for his man, at times in "The First Time," it almost seems like Blaine would rather be with Sebastian. This should not be the case. Even if Sebastian is attractive, Blaine knows that Kurt is a much better person, and that should count for a lot. Poor execution of a dumb story.

     There is a bloom of something wonderful within the Sebastian plot, however, when Kurt visits the gay bar and encounters Karofsky (Max Adler), whose presence is sorely missed on Glee. Karofsky tells Kurt that, although he wants to be seen as straight with no doubts in his new high school, he feels comfortable and accepted at the bar. Kurt is happy for Karofsky's baby steps, and the two find peace after years of torment. Kurt is right that people need to take things at their own speed, and Karofsky seems to be coming to terms with who he is, and stopping to hate himself for it. This is truly a happy ending to a tragic story.

     "The First Time" is a mixed bag when examined closely, as one might see from the preceding paragraphs. The music in the episode is fairly strong, though. "Tonight," "A Boy Like That," and "I Have a Love" showcase some of the best of West Side Story, and let Santana (Naya Rivera) shine. "America" is a fantastic big number, even if some of the accents are completely wrong (cough, Mark Salling's Puck, cough). It's a high school production, though, so that can be forgiven. Viewers will be left wanting to see more from the show, but this likely won't be the case.

     "Uptown Girl" may be the weak spot because, although it is great to see the Dalton Warblers, whom many have missed, without Blaine, their sound quality has gone down considerably. No wonder they beg for him to come back.

     My overall impression is that "The First Time" comes off as pretty great, especially when going with the romance mentioned above, and because the issues with it tend to be small. But there are a number of these small things that just don't make sense, and together, they add up. These include Rachel calling that particular group of girls back together for the sex talk. Or Rory (Damian McGinty) getting into West Side Story, even though he comes to the school after the complicated musical is well into production. Or Rachel and Blaine still singing from sheet music days before opening night. Or Finn thinking he can play quarterback for OSU, one of the best teams in college football, despite the fact that he comes from a terrible team in a small town. Even with Coach Beiste, things cannot have turned around that much so quickly. At one point near the beginning, viewers can even see clearly that Rachel is standing on a box to have a close scene with Finn, as she is suddenly taller, and appears to step down as she walks away!


     So a back and forth week for Glee. Not the end of the world, and mostly satisfying, even with the nagging problems. One can hope that maybe next week will be better. Watch Glee Tuesday at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter!

 

     Click here for all of the Glee reviews I've ever written.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

 

Article first published as TV Review: Glee - "The First Time" on Blogcritics.

Glee celebrates "Theatricality"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     Theatricality is hands down one of the best episodes of FOX's Glee to date. It embraces the inner freak, encouraging the kids to be true to themselves. It also begins tackling the serious issue of gay bullying, reunites a mother and her daughter, and dwells on the emotions behind giving a child up for adoption, both before and after it takes place. There are serious, dramatic moments that bring tears to your eyes, triumphant bits to make you feel good, and several fantastic musical performances.

     Who better to bring out the freak in everyone than Lady Gaga? While "Theatricality" is not an artist-dedicated themed episode, surely the spirit of the pop star permeates most of the things that play out on screen, in ways both obvious and subtle. The biggest splash Gaga makes is the with the costumes the girls and Kurt (Chris Colfer) don the entire week, and their performance, in said costumes, of "Bad Romance."

     While some of the guys watching the "Bad Romance" performance are less than enthusiastic, that surely must be because of things going on behind the scenes, rather than a bad performance. Other boys give them the applause they are due. It's a perfect song, not only because of the message of Gaga, but also because its staging and execution are neat and unique. A number of the singers get to shine with small solos, and the choreography keeps things interesting.

     Finn (Cory Monteith) is likely turned off by Gaga because of his struggle between wanting to be in glee club, and wanting to fit in with the jocks. Azimio (James Earl) and Karofsky (Max Adler) turn up their tormenting to whole new levels in "Theatricality," offended by the fact that the New Directions would upset the high school environment by dressing so crazily. Finn doesn't seek to cause trouble with them, but neither is he a bad guy who looks down upon others for being different. After all, the glee club members are his friends.

     This simmering tension comes to a head because Finn moves in with Kurt. While Kurt has long hoped for a shared bedroom with Finn, things quickly get awkward between them. After all, Finn is not gay, and Kurt doesn't keep his feelings hidden very well. Finn tries to be polite, but it's no wonder that he erupts at Kurt. That being said, it's also not acceptable to call Kurt or his things "faggy," so it's heartening when Burt (Mike O'Malley) lets Finn know exactly how not welcome that word is in his home. It's a moment that really cements the relationship between Burt and Kurt, and by Finn's reaction, it's apparent that he knows he went too far. He didn't mean to be quite so hurtful, and he's sorry. He also realizes just saying sorry is not enough, so he looks for some other way to make it up to Kurt.

     It's likely because of this confrontation, and the build up to it, that Kurt finally finds the courage to stand up to his bullies. He is frustrated at home and at school, and can only take so much. Azimio and Karofsky don't take back talk very well, and want nothing more than to put Kurt in his place. Even Finn coming to the rescue in a shower curtain doesn't stop them, but facing the entire group does. Finn's courage, finally, to stand up for what is right is a fantastic moment, and one that does much to repair his relationship with Kurt. Finn may not want to jump into bed with his mother's boyfriend's son, but he does want a friendship. This is how he will get one.

     Because of Finn's reluctance to do Gaga, the guys search for a similarly outlandish male role model. Or rather, models. They choose Kiss, whose look is surely at least as shocking, even if the band sticks with one basic image the entire time. "Shout It Out Loud" doesn't have the same impact that "Bad Romance" does, but it does provide something that may be a tad more relatable to the guy members of the New Directions.

     Luckily, Kiss has a second song up its sleeve in "Beth," which Puck has the guys sing for Quinn (Dianna Agron). It's a tear-worthy moment, when Puck (Mark Salling) declares he is there for Quinn in any circumstance, and demonstrates the maturity needed to be a father, even if only biologically. It's no surprise that Quinn is moved by the performance, much in the way viewers at home are. Puck is not generally the most responsible individual, but here, he shuns that image to act like a man. It is most welcome.

     The final two songs in "Theatricality" are "Funny Girl," a Shelby (Idina Menzel) solo, and "Poker Face," a Gaga duet shared between Shelby and Rachel (Lea Michele). The first serves two purposes: to showcase Menzel's talent, and to let Rachel figure out that Shelby is her mother. The second is a moving goodbye from a parent who has just found her daughter, but can't deal with the ramifications, so is letting her go. Sung in a very melodic style, "Poker Face" has appropriate lyrics, and is done in a way that really showcases the feelings of the two women.

     Shelby is sincere when she tries to begin a relationship with Rachel, but finds she cannot handle it. She isn't used to having a daughter around, and when facing the reality of picking up after sixteen years apart, she backs away. It's understandable, but still sad, especially for Rachel, who always wonders about her mother. Shelby leaves before Rachel can ask many of the questions on her mind, or get to know exactly which characteristics she inherits from her mom. Hopefully, this will be rectified when Shelby returns for a longer arc in the upcoming third season of Glee.

     One thing that does bother me about this episode, though, is that Will is OK with Rachel and others spying on Vocal Adrenaline, and even stealing their Gaga idea. Yes, he scolds them, but then he lets his kids do Gaga, and asks what they learned from their spying. Considering how hurt the New Directions were at Sectionals by similar behavior from rivals, it doesn't make sense that Will would allow this to go. Or that the kids would engage in the espionage in the first place.


Random Bits:
 

• Lauren Zizes (Ashley Fink) is shown to be the leader of the school's Twilight-loving vampire group. This doesn't really gel with anything else we see in her character before or since. But it continues Glee's trend to stick Zizes in whatever silly group of the week it wants to show. Thank you for Zizes, but no thanks for the stunt.

• Fun is fun, but Figgins (Iqbal Theba) believing in vampires, and that Tina (Jenna Ushkowitz) is one of them? Beyond ridiculous.
   
• I'm not sure Tina really fits the goth stereotype. Sure, her clothes are often black, and sometimes her hair and makeup borders on that genre. But she isn't really goth in personality or action, so it kind of ruins that label being affixed here.
   
• Rachel and Shelby's talk, sitting in different rows of the auditorium, looks great, but isn't the least bit practical. Thank goodness Rachel comments on it, showing that Glee is self-aware about its own cheese sometimes!
   
• A moment along the same lines occurs when Rachel calls for Brad (Brad Ellis) to play the piano for "Poker Face." Again, Glee diffuses the weirdness with a joke. Bravo!
   
• Did the New Directions girls and Kurt really wear those same costumes all week? They must smell quite bad by the end of it!
   
• I know it's established to be temporary, but really, Kurt and Finn are expected to share a bedroom? Are they ten? Their parents must realize this isn't a practical arrangement, especially considering Kurt's attraction to the same sex in general, and Finn specifically. Even if those exact feelings aren't know to the adults, this is a dumb set up.

     Check back for another of the final two Glee season one reviews later today! And don't miss the season three premiere of Glee this Tuesday at 8 p.m. ET on FOX.

     If you like my reviews, please follow me on Twitter! Click here for all of my Glee reviews.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

Article first published as TV Review: Glee - "Theatricality" on Blogcritics.

Glee jumps on a "Mattress"

     This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     One episode of FOX's Glee that seems pretty bizarre is "Mattress." That's likely because there's a lot of sadness and anger in the episode, not your typical Glee fare. As such, it's a little unclear whether it fits in appropriately with the series overall, or if it's a stand alone oddity. Pathos are fine on Glee, and often done well. But when the whole episode revolves around depressing material, it tends to almost seem out of tone.
     "Mattress" aired just before winter break, so a lot of it builds up to a mid-season finale. Will (Matthew Morrison) discovers Terri's (Jessalyn Gilsig) treachery, and considers leaving her. Emma (Jayma Mays) is forced to choose between attending the glee club's Sectionals, or her own wedding to Ken (Patrick Gallagher) when he purposely schedules the latter event on the same day as the former. Quinn (Dianna Agron) stands up to Sue (Jane Lynch) once and for all. And all of the New Directions worry what might happen to their year book photo, if they even take one.

     The plot between Will and Terri is a long time coming, and not exactly unwelcome. While Terri's intentions are originally good, as Emma admits she sees to Will, the lies are carried too far. There is no happy ending possible for the couple, and years of resentment and anger erupt. It's startling to see Will get so mad, but at the same, it's the only logical way to act after being betrayed so deeply. A root cause of the problem is, as Terri says, "This marriage works because you don't feel good about yourself." But Will has found purpose with the glee club, and that has ruined their status quo, even if that status quo isn't exactly great in the first place. Thus, without Will acting like that, they are disrupted.

     A quick note about Will's heroic self-sacrifice at the end, removing himself from the glee club so that the group can still compete at Sectionals. This is how a hero acts, and what he does is very noble. Great use of a lead character, and it redeems him after the ugly fight scene with Terri earlier.

     The larger implication of a Will/Terri dissolution is how it may effect Emma. Emma is in love with Will, and is only marrying Ken to try to move on, deciding that Will will never be available. Now that idea is turned on its head, and while Will says he isn't yet sure if divorce is in the cards, it seems likely Will may be single again soon. With that tempting prospect, should Emma go ahead and marry a man who has, as she states, "Seventy-four flaws, as of yesterday?" Truthfully, she should not be marrying him in the first place if she feels this way, so the wedding has a very good chance of not happening.

     This melancholy tone is reflected in much of how "Mattress" plays out, and, of course, in the music chosen for the episode, even though the titles of the songs sound happy. "When You're Smiling" is sad as Rachel (Lea Michele) tries to gain the courage to take a smiling photo. The Charlie Chaplin version of "Smile," which ends the episode, is even more blue, not least of which because it plays over footage of Dave Karofsky (Max Adler) defacing the New Directions year book photo with his laughing friends around him. What a depressing final shot!

     The Lily Allen version of "Smile" is just plain weird. It is an atypical choice for a Rachel and Finn (Cory Monteith) number, and neither looks entirely comfortable singing and dancing it. The piano player bobbing along with that odd look on his face is actually, by far, the best part of the song. While not sad, this "Smile" doesn't do anything to make the episode better. It just doesn't work too well at all.

     Strangely enough, among the episode's many sad moments, there is the joyful, stand-out performance of "Jump." More than anything else, "Jump" is what "Mattress" will be remembered for. Not quite fitting in with everything else, it is still one of the best choreographed performances in all of season one, and is incredibly fun to watch. Good thing the mattress store just happens to have big mattress trampolines laying around for the kids to use! Oops, being too critical again.

     Quinn really shines in "Mattress." Up until now, there are occasional hints of a good person, but Quinn is kind of one of the main villains of Glee. Yet, she completely makes up for her bad behavior when she stands up to Sue. Not only does she get the glee kids one of Sue's six (six!) cheerleading pages in the yearbook, but she also puts Sue in her place. Quinn admits that glee teaches her more than the Cheerios does, and it's a superior club. Bravo, young lady! Way to go!

Random Bits:

• The news program in which Sue does a segment appears to be filmed in Columbus, Ohio. Though it's not a cityscape view usually used, a couple of the buildings look like this is so. This is especially odd, as Glee takes place hours from Columbus. Maybe. Read my full rant about the inconsistency of Ohio layout in another Glee review.

• Great Brittany (Heather Morris) line! When Rachel says that maybe the glee club photo won't be defaced in this year's yearbook, Brittany replies "Yes it will. I'll be the one doing it." At least she's honest!

• Why does Rachel go through the charade of picking a co-captain through a process? She approaches Mercedes (Amber Riley), Artie (Kevin McHale), and Brittany before asking Finn. Not only do none of these three options make any sense for Rachel to choose, but it's completely obvious to viewers that Finn will, and should, be the co-captain. It feels forced that Rachel would even consider anyone else.

• How did Quinn get to be Cheerio captain as a freshman? That's almost unheard of in high school! Yet, she is clearly the captain in the 2008 yearbook, and she will not be graduating until the end of season three, the 2011-2012 school year. So this must be so.

• Which leads me to ask, why is there a yearbook being put out in the fall with the fall semester's year anyway? Isn't that unusual? Don't year books come out in the spring, with the calendar year that ends the school year on the cover?

• Isn't it unethical for a school to leave a club out of a yearbook? Is that even allowed? Any yearbook I've ever come into contact with includes ALL school clubs, no matter how minor. Charging a teacher to get their club into the yearbook defeats the whole purpose of a yearbook, and is probably illegal, or at least against state guidelines, since the other clubs aren't charged similarly.

• John Ross Bowie appears in "Mattress" as the photographer/commercial director. This very funny actor currently has recurring parts on both The Big Bang Theory and Childrens Hospital.

     Check back for another season one Glee review soon!

     If you like my reviews, please follow me on Twitter! Click here for all of my Glee reviews.

 

     To purchase Glee DVDs, streaming episodes, music, and more, please click here.

 

 

Article first published as TV Review: Glee - "Mattress" on Blogcritics.